The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1887-05-06

nature breaking down under the weight of q
| duty too great for it bear.
Hamlet the elimination of the European
drama of all drama, five hours long, too long
! for single representation is synthetic type
] in literature In the EllZabethan the art
form was dramatic: did thought best express
itself. Shakespeare the greatest dramatist,
to the muitifarious Goethe is awarded the
/ palm of being the greatest novelist The art
/ form is now novelstc. in George Sand and
/ George Eliot, and Goethe. Consuelo, Middle
march, and Meister carry not only story, but
| the burdens of thought as to art, religion, the
social state. science. aud politics as they seek
/ expression in modern times.
The long soiloquies. and CONCENTRATIONS. and
/ speculations of Hamlet are not dramatic,
are not adapted to the stage. Trag-
! edy can exert it's moral Office without these. as
| 1t does in Lear. and O.hello. and Macbeth.
! Hamlet is both povelisticas well as dramatic
in its form, and is synthetic. pointing the way
and making possible TO Goethe his Mester.
And this has its tragedy. The story of Mgn-
on, which is one of Carlyles few purely beau
tiful figures, he tells US, runs like thread of
gold through the tissue of the narrative, con-
Meeting with the heart much that were else adj
dressed only to the head. Philosophy and elo-
quence might have done the rest of Meister: but
this is poetry in the highest sense of the word
The, world has to thank Shakespeare, not only
for Hamlet, but also for much of Meister.
But after all, the form is nothing; in Shaks-
peare and Goethe we dealing with values.
with wheat and gold and not perishable flowers
or plaster images. The Importance of such wis
dom we find in them bursts under the
used these Michael Angelo used marble or
color, architecture. to express and impress the
thought within. What matters it upon what
paper or in what language the text of life is
written so that it is written that he who runs
may read and is lmperishabef
But why write ones musings or reflect those
of others about Hamlet or Shakespeare! He is,
Maurice Thompson following Emerson.
trenchantly insists. his own best bographer anc
Interpreter, telling nothing except TO tho
Shakespeare within us; that is. appealing to our
most apprehensive and sympathetic hour Some
will fancy things into Shakespeare that not
there-wlll read between the lines. Some will
look upon his tragedies as formal lessons in
morals; others will regard him as without moral
intention, reporting things artist reports
and asides, by indirection rather than
by set purpose; the method of experience
rather than of the preacher: It
matters not how We cone to Shakespeare
along what theory or through what actor; it is
not necessary to read more than half dozen of
his plays to know him well. If will and con-
paythings, just as certainly Shakespeare was
born into the world with a mission to she race Of
men. A. w. B.
Last Nights Play and Audience.
Mr.. Edwin Booths presentation of Hamlet
at English's Opera house last night the
dramatic event of the 1t is the great
dramatic event of any season. and whose
occurrence must always mark a red-letter day
the memory of those who witness it. AS a
est art-a perfect Interpretation of one of the
greatest creations by the greatest of all drama
tists-Mr. Booths Hamlet holds front place
among the traditional triumphs of the STAGE and
it will not be surprising il history aecords it the
first To attempt to criticise such performance
would be sheer presumption. Like the works of
the great masters in the fields of art it has
passed beyond the sphere of criticism into that
of acknowledged excellence. where every thought
of imperfection is lost in unqualified admiration.
At this point criticism becomes merged in praise,
and even to praise SO perfect work of art is
To gid refined gold to paint the lily,
To throw perfume on the violet
Mr.. Booths place in stage annals is peculiar.
His genius and his art are hereditary as well as
cultivated No other instance Is recalled in
which the son of an actor who was himself the
greatest tragedian of his time has so conspcu-
ously inherited the genius and rivaled the
triumphs and fame of his father The elder
Booth, Junius Brutus, was one of the greatest
Hamets in time that embraced such actors as
Garrick, Kemble, Kean MacreadY and others
scarcely less celebrated. More recent times have
extended the list of great Hamlets. but among
all probably there has never been greater than
Edwin Booths Perhaps the elder Booth was
man of more native genius than his son, of more
fiery and imaginative temperament, but Edwin
Booth mas q DoCter OAlAnceu InlnO tnan ms ldtneF
had and has brought to his work broader cult
ure and larger acquaintance with all schools of
art and artists. The elder Booth never saw
play acted till ne sixteen years
old and at twenty he rivaling
Kean on the London stage He did
not need to study models stage traditions.
He created his parts and. q considerable de-
gree, his stage business and they were often
better than the host traditions of the stage.
Edwin Booth has done this too but he has also
profited by profound and searching study Of
the literature of his parts, approprating all the
culture of all the schools. Native genius may
make great actor, but even genius is aided by
study. 1t has been said of Edwin Booth that
he has evidently st udied carefully the effective
points of Garrick, the beautiful readings OF
Henderson, the intellectual conceptions OF
Kemple the inspiration of Kean and the COM
manding genius of his own father. He is very
great in other points but he is peculiarly SO in
Hamlet. Probably few of the great actors
who have played the part have been
SO favored by nature for it in appearance.
physique and temperament Edwin Forests
Eamlet was made almost ridiculous by his
gadiatorial appearance and robust manner,
though he esteemed it one OF his greatest char
acters, and usually played it on benefit nights.
Mr.. Booth looks the part. Its not alone" his
.inky cloak, nor customary suits OF solemn
BLACK, but his face. form ana inquire, MS pnyslcdI
and intellectual habits, and bis rare grace and
tenderness, which seem to fit the part so per-
fectly and make him an ideal hamlet. To this
must be added a perfect understanding and con-
ception of the character gained by profound
study and the keenest intellectual per-
ception, together with wonderful power
of emotional expression and perfect mastery
of stage business. He is Hamlet, take him
for all in all. shall not look upon his like
again." In witnessing his rendition OF the part
one forgets the actor in the man. and the man 10
not Booth but Hamlet He does not merely
look and act the part. he is the very character.
IL is related that unsophisticated person who
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